Titlebook: Masculinity and Monstrosity in Contemporary Hollywood Films; Kirk Combe,Brenda Boyle Book 2013 Palgrave Macmillan, a division of Nature Am

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Kirk Combe,Brenda Boylegn of microdevices.The subject is treated by invited lectureThis volume contains an archival record of the NATO Advanced Institute on Microscale Heat Transfer – Fundamental and Applications in Biological and Microelectromechanical Systems held in ?esme – Izmir, Turkey, July 18–30, 2004. The ASIs are

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Herpetologist

Introduction: Of Masculine, Monstrous, and Me,y overpriced bucket of soda and barrel of popcorn. At this point, you’re tolerating the pre-programming, all the dross that precedes the trailers. Included in this lackluster cavalcade are some of the same commercials that come at you on television. Imagine that one of these advertisements manages t

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,Hooah! We … Are … Sparta!,s in March 2007 to great fanfare. In the first weekend, it set a March record for number of tickets sold (Reuters), outsold previous ancient battle films like . (2004) and . (2000), became the third-highest grossing R rated film after . (2003) and . (2004), and was the “biggest IMAX debut ever” (Gra

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Love and Violence in ,ckground of . and .. It should come as no surprise that figured in this near future, British totalitarian regime is the Bush administration of 2000-2008. Where Alan Moore, in his original graphic novel series, envisaged Norsefire as an expansion of the conservative Thatcher government in England dur

overhaul

,Going “Full Retard” in ,g “a role that leans heavily on the term ‘retard’” (Bauer). Neither Bauer nor the responders to her online posting had seen the film and so could not understand that “l(fā)eans heavily” was a misstatement. That potential for misunderstanding seems immaterial; even tangential use of the r-word to this gr

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The New Millennium Manliness,Social Organization” 38). Exemplars of modern hegemonic masculinity frequently are film actors, sports heroes, or even fantasy characters, ideals difficult or impossible to achieve. The actual practitioners of hegemonic masculinity, however, are people possessing institutional position or considerab

Confess

,Coda: The Monster’s Suit,ed in the preceding chapters, when dealing with movie monstrosity, a host of issues interact: gender, socioeconomics, warfare, sexuality, able-bodiedness, race. Some films reify the human/monster binary to endorse a social “normal.” Some films blur that boundary, thereby distressing the very concept